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THE APPLIANCE OF SCIENCE Maji concerns the worldwide issue of fresh water supply
We downloaded all our cards to two Lacie Boss SSDs, which have their own batteries – and back up directly from the card reader. These also connect to an app on my phone, so I didn’t have to blindly trust that the data had been backed up. As it was November and got cold, our limited battery supply ran the risk of draining away in the night, so all full batteries slept soundly alongside us in our sleeping bags to keep them warm. Sleep was difficult at first, but gradually got more comfortable as the shoot went on. The 6K Pro was chosen because it’s compact, light and produces a lovely Raw image. The codec compression ratios also become an important consideration when working on documentary films like Maji . This meant we were able to drop down to 12:1 high compression on the Blackmagic Raws for lengthy interviews, or to squeeze the last juice from a card at
the end of a day. We’d then switch back to low compression for some beautiful B roll all in the same format, which is great for reacting in run-and-gun situations. Features like internal ND filters and quick power-up may sound very basic, but they’re an absolute must for responding to unfolding events in the moment. The rig was a mix of brands. I used Shape push-button handles for rapid adjustment and a light Tilta cage with top handle for the camera. The iFootage Magic Arms are rock solid for holding the monitor, quick to swap out and pack away. There is no brand loyalty – I use whatever works best for each element of operation. For lens choice, the DZOFilm 20-55mm T2.8 Pictor Zoom has a nice focal range to respond to unfolding action, so it was an obvious choice to leave on the A cam. It’s heavy, but has a lot of character compared to shooting with the more clinical stills
camera lens that would have been in the same budget range. There has been great footage shot of the Grand Canyon in crisp detail, but our story is a human journey through this landscape. One of my favourite uses of the 6K Pro came in Uganda when we needed to shoot inside a beehive. We wanted to get right into the hive and see things at bee level. But working in a full protective beekeeping suit makes operating cameras much harder – so we stripped the camera back, adding a Laowa probe lens on a small slider which meant we could still get the shots under pressure from thousands of angry bees. Then one of my favourite sequences: we woke before sunrise in the Wadi Rum desert in Jordan to meet up with Salem Hussain from the Bedouin community. Everything we shot that morning has incredible colours and contrast between the sand, the sky and his white clothing. The DZOFilm lenses have proved an ideal match for the Blackmagic Pocket Cinema Camera 6K Pro for a softer, less digital feel. The whole film simply looks stunning, which makes all those arduous days trekking truly worthwhile.
Find out more about Maji biscuitbunker.com Tom Neish, producer Charli Doherty, director charlidoherty.com
GRAND DAY OUT The views of the canyon are incredible and worth the long and arduous hike
Richard Jephcote, DOP richardjephcote.co.uk
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